Category Archives: Reviews

Conceptual Art in Britian 1964–1979, April 12–August 29, 2016, installation view, Tate Britian (photo: Tate Photography)

Warm, Wet, Cold, Dry: Conceptual Art in Britain 1964–1979

By Charissa Terranova

Charissa Terranova discusses the exhibition and catalogue, Conceptual Art in Britain 1964–1979, which was on view at the Tate Britain from April 12–August 29, 2016.

Conceptual Art in Britian 1964–1979, April 12–August 29, 2016, installation view, Tate Britian (photo: Tate Photography)

Warm, Wet, Cold, Dry: Conceptual Art in Britain 1964–1979

By Charissa Terranova

Charissa Terranova discusses the exhibition and catalogue, Conceptual Art in Britain 1964–1979, which was on view at the Tate Britain from April 12–August 29, 2016.

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

By Lauren Richman

Lauren Richman reviews Hilary Roberts, ed., Lee Miller: A Woman’s War, and the exhibition Lee Miller: A Woman’s War, and Walter Moser and Klaus Albrecht Schröder, eds., Lee Miller, and the exhibition Lee Miller, aka Lee Miller—Photographs and The Indestructible Lee Miller

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

By Lauren Richman

Lauren Richman reviews Hilary Roberts, ed., Lee Miller: A Woman’s War, and the exhibition Lee Miller: A Woman’s War, and Walter Moser and Klaus Albrecht Schröder, eds., Lee Miller, and the exhibition Lee Miller, aka Lee Miller—Photographs and The Indestructible Lee Miller

Gilberto Esparza, Moscas (Flies), 2010–2014, motor from cellular phone, copper wire, and controller (artwork © Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)

Between Negative Dialectics and Biological Aesthesis

By Charissa Terranova

Charissa Terranova reviews Wetware: Art, Agency, Animation, which was on view at the Beall Center for Art + Technology, University of California, Irvine, from February 6–May 7, 2016.

Gilberto Esparza, Moscas (Flies), 2010–2014, motor from cellular phone, copper wire, and controller (artwork © Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)

Between Negative Dialectics and Biological Aesthesis

By Charissa Terranova

Charissa Terranova reviews Wetware: Art, Agency, Animation, which was on view at the Beall Center for Art + Technology, University of California, Irvine, from February 6–May 7, 2016.